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Uncanny

The jester’s original function was to recite jests—narrative tales of heroic exploits (O.Fr. geste “action, exploit, romance”). Like fabled tricksters, they amused, cajoled, spun ludic into lucid and transported listeners by weaving together is-was-and-could-be. Both mythic and real, tricksters draw us into this “uncanny territory, a space ruled by the disarming charm of the very young child. It is a traveler’s space where everything is on the road, cut loose from any clear locale. Here the citizens walk their livestock backward and speak a weird reversing language” (Hyde 1995). In any domain, creative engagement relies on such errant ramblings beyond the usual, outside known coordinates.

At the conference, I will present a sort of jester’s guide to creative see(k)ing: the wandering, wondering, web-of-familiar-association-disturbing and predictable-duality-disrupting that are central in my own process as a visual artist. Participants will be invited to experiment with this approach, playfully leveraging uncertainty, randomness and knowing by not-knowing.

Thanks! Your unexpected reference highlights an important aspect of creative process: intentionality, which launches, but does not constrain, curiosity and random explorations along the way to unforeseen new possibilities. Bosch’s painting, on the other hand, depicts a far less serendipitous voyage for its prodigal, self-indulgent seafarers, who must drift aimlessly and land nowhere…

I look forward to participating in your session. The ability to balance being inside a frame while being able to leave that frame at will is very interesting to me. I look forward to learning your jester’s guide.